An Old Song, Half Forgotten

Bryan Murray in An Old Song, Half Forgotten. Image by Ros Kavanagh.

****

The issue of access is pushed front and centre in An Old Song, Half Forgotten, written by Deirdre Kinahan and directed by Louise Lowe. In this case, access to tales, and performers, contending with Alzheimer's. The performer in question the much loved actor Bryan Murray. Murray ensuring that not only is his Alzheimer's given access to the stage, but that we are given access to a truly unique experience. A mix of biography and fiction, An Old Song, Half Forgotten sees theatre lover, James, from Emmet Road, Dublin, climb the heights of West End success via the Abbey Theatre. A life James recalls in succinct detail, Kinahan’s script working overtime with an efficient economy. Remembrances making shape and sense as James tries to recall his life, his best friend, Danny, even as he can’t recall what happened yesterday. Leaving James’s younger self to takes notes in an effort to ensure he’ll always remember.

Bryan Murray and Matthew Malone in An Old Song, Half Forgotten. Image by Ros Kavanagh.

In essence, two tales unfold simultaneously, resulting in a tension between text and theatre. One, a mawkish “pal of my cradle days” styled memoir, the other occurring in real time in which the audience is confronted with Murray’s bravery and the love of those around him. Throughout, both Kinahan and Lowe employ mirroring as a device, even as both artists seems to be at cross purposes. Kinahan’s sensory rich script looking to add drama, Lowe’s lean direction to strip it away. Even the string quartet is placed out of sight. The prolonged musical moments finding Murray standing, waiting, looking unsure. Till it hits you, that’s the point. The experience almost Brechtian.

Bryan Murray and Matthew Malone in An Old Song, Half Forgotten. Image by Ros Kavanagh.

Capturing the world as constantly needing to be reframed, the endless repositioning is cleverly realised by Conor Jacob’s set. Maree Kearn’s costumes might lend Murray a touch of the showman, but plain Matthew Malone is visually reminiscent of a carer more than James’s younger self. Malone executing the demanding role with great sensitivity and humility, ensuring the light always shines on Murray. A point that proves crucial. Were Murray playing at having Alzheimer's, An Old Song, Half Forgotten would not be near as effecting. Yet to get there An Old Song, Half Forgotten undertakes theatrical white water rafting. Murray, locked into each moment, relies on an earpiece relaying his lines. Pace needs to be easy and precise. Steering able to plot course corrections without scuppering the boat. All the while hoping the current carries everyone safely through the rapids. With consumate skill Lowe ensures all who sail on the good ship An Old Song, Half Forgotten arrive safely home.

Bryan Murray and Matthew Malone in An Old Song, Half Forgotten. Image by Ros Kavanagh.

In An Old Song, Half Forgotten theatre is truth, text our sensitive, caring, sentimental illusions. Theatre the bitter pill, text the spoonful of sugar that makes it easier to swallow. If Kinahan’s smartly structured tale, with its loops and repetitions, accommodates Murray’s spirit, he’s perhaps more deeply seen in the silence and stillness. Reminding us that reality, and people, are more than memories and meanings. Like Glen Campbell’s final performances, Murray might not have access to all his memories, but his talent remains intact. His grace, charm, ease and presence crafting something truly moving. Truly memorable. Made bittersweet. During the standing ovation an immensely grateful Murray looks emotionally overwhelmed. Then the kicker hits: will he remember this tomorrow? Perhaps not. But he’s living it right now.

An Old Song, Half Forgotten, written by Deirdre Kinahan and directed by Louise Lowe, an Abbey Theatre and Sofft Productions co-production, runs at The Peacock Stage of the Abbey Theatre until May 6.

For more information visit The Abbey Theatre